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iZotope, Inc. is an audio technology company based in Cambridge, Massachusetts, United States. iZotope develops professional audio software for audio recording, mixing, broadcast, sound design, and mastering which can be used in wide range of Digital Audio Workstation (DAW) programs. In addition, iZotope creates and licenses audio DSP technology including noise reduction, sample rate conversion, dithering, time stretching, and audio enhancement to hardware and software companies in the consumer and pro audio industries.

Mar 03, 2011  Izotope Ozone 4.03 VST AU RTAS HTDM + Keygen Quote: Complete Mastering System Software The process of mastering ranges from correcting mistakes made in the mix to preparing a recording for target listening environments. NKS support puts the power of Ozone into your creative process, letting you master while making music with Maschine or Komplete Kontrol. Open Ozone on the fly and easily add professional polish while making music on your hardware using hundreds of different presets and accessible parameters mapped to your hardware controls. Jun 23, 2010  Find helpful customer reviews and review ratings for iZotope Ozone 4 Complete Mastering System Software (Digital Download Only) at Amazon.com. Apr 15, 2009 Read more: Izotope Nectar 3. Ozone 4 is one such product: a 'complete mastering system' in DX/VST/RTAS/AU plug-in format running right inside your DAW. Ozone has seen three previous incarnations, and its GUI remains instantly recognisable, although it's been somewhat updated and is now a touch slicker.

Software[edit]

IZotope, Inc. Is an audio technology company based in Cambridge, Massachusetts, United States.iZotope develops professional audio software for audio recording, mixing, broadcast, sound design, and mastering which can be used in wide range of Digital Audio Workstation (DAW) programs.

Mobile applications[edit]

• Spire — iOS recording app
• iDrum and iDrum Mobile (acquired on December 4, 2006)^[18] — virtual drum machine^[19]
• Music and Speech Cleaner — audio cleanup and enhancement suite^[20]
• Sonifi — mobile remix mobile application developed by Sonik Architects^[21]
• The T-Pain Effect (released July 20, 2011)^[22] — beat and vocal recording software with pitch correction

Izotope O-zone 4 Crack

Third-party plugins[edit]

• Ozone Maximizer Rack Extension (released June 14, 2012)^[23] for Reason — Reason 6.5 Rack Extension
• Mastering Essentials (released January 20, 2012)^[24] for Acoustica Mixcraft Pro Studio 6
• Radius (released May 19, 2006)^[25] — world-class time stretching and pitch shifting for Logic Pro and SoundTrack Pro

Discontinued products[edit]

• Ozone MP — analog modeled audio enhancement for Winamp and Windows Media Player
• pHATmatik PRO^[26] — loop-based sampler
• PhotonShow — photo slideshow software
• PhotonTV — photo slideshow software
• Spectron (released March 6, 2003)^[27] — 64-bit spectral effects processor^[28]

Compatible software[edit]

iZotope's software can be used with Pro Tools, Apple's Logic Pro and GarageBand, Cakewalk SONAR, Nuendo, Digital Performer, WaveLab, Adobe Audition, Magix VEGAS, Reaper, FL Studio, Ableton Live etc.

Hardware[edit]

Izotope recently launched an iPhone-driven physical recording device competing with Zoom and Tascam, branded Spire Studio. It works wirelessly with the Spire IOS app and includes 4Gb of storage and XLR/TS ports for instrument jacks and mics in addition to the on board, internal mic. It is small, portable and not rack mounted and appears to be targeted to smaller bands and single musicians as well as home studios, as well as the podcasting and meeting sectors.

Licensing[edit]

iZotope has recently branched out its business to include software and technology licensing after ten years of developing audio processing algorithms and tools for their own software. iZotope offers development of technology for Mac and Windows platforms, Mobile, Video Game, and Embedded DSP. Clients have included Sony, Adobe, Xbox, Harmonix,^[29]Smule, Sonoma Wire Works, and most recently, Blue Microphones.^[30] Algorithms are delivered as a plugin or SDK for easy implementation. To date, iZotope technology has shipped in nearly 68 million products worldwide.^[31]

Licensed technologies[edit]

Mac/PC^[32]

iZotope has audio technology readily available in the form of VST, DirectX, AudioUnits, RTAS or AudioSuite plug-ins. Typical uses for licensed technology for Mac or PC applications include audio finalizing, music production, audio for video, presentation audio, metering to address broadcast loudness standards, and media playback. Categories of available licensed technologies include audio enhancement, voice enhancement, audio repair tools, creative tools, DJ tools, audiophile tools, time manipulation and audio for video.

Video Games^[33]

iZotope has developed plugins for use directly in Audiokinetic WWise for audio enhancement, voice effects occlusion and room modeling. In addition, iZotope has developed sound design tools and special effects for sound designers using the FMOD middleware engine. For middleware engines supporting XAudio and Multistream formats, iZotope has a collection of licensable DSP for use in music related games or karaoke.

Mobile SDKs^[34]

• Core FX
• Audio Repair
• DJ FX
• Vocal FX
• Trash FX
• Fun FX

Embedded^[35]

Noise reduction DSP is available for use in hardware using Analog Devices SHARC and Blackfin processors. In 2012, iZotope embedded Adaptive Noise Reduction and Keyboard Click Reduction technologies on Blue Microphones' Tiki USB Mic.^[36]

Other

• Omega — realtime time and pitch control
• Radius — natural time stretching technology. Integrated into Digidesign's Pro Tools Elastic Time as well as Cakewalk SONAR. Available as a plug-in for Apple Logic Pro.
• SRC — 64-bit sample rate conversion.

Notable licensing partners[edit]

Artist references[edit]

• iZotope receives credit from Trent Reznor and Nine Inch Nails on the album credits of Year Zero.^[37]
• American record producer Just Blaze mentions using Ozone on his latest project with Jay-Z.^[38]
• Rock band from the US Garbage refers using Stutter Edit, Ozone, and Trash.^[39]
• American DJ Skrillex discusses about using Ozone on his tracks.^[40]

Awards and accolades[edit]

• Emmy Award Technology & Engineering Emmy (2013) — RX 2^[41]

References[edit]

1. ^'Izotope Alloy 2'. Sound on Sound. Retrieved October 4, 2019.
2. ^'Izotope ANR-B'. Sound on Sound. Retrieved October 4, 2019.
3. ^'iZotope Break Tweaker'. Sound on Sound. Retrieved October 4, 2019.
4. ^'iZotope release free DDLY Dynamic Delay'. Sound on Sound. Retrieved October 4, 2019.
5. ^'Izotope Insight'. Sound on Sound. Retrieved October 4, 2019.
6. ^'iZotope Iris 2'. Sound on Sound. Retrieved October 4, 2019.
7. ^'Izotope Nectar'. Sound on Sound. Retrieved October 4, 2019.
8. ^'iZotope Nectar 2'. Sound on Sound. Retrieved October 4, 2019.
9. ^'iZotope Neutron'. Sound on Sound. Retrieved October 4, 2019.
10. ^ ^abc'iZotope Neutron 2 & Ozone 8'. Sound on Sound. Retrieved October 4, 2019.
11. ^'iZotope announces Neutron 3'. Visuals Producer. June 6, 2019. Retrieved November 21, 2019.
12. ^'iZotope Ozone 7'. Sound on Sound. Retrieved October 4, 2019.
13. ^'iZotope Ozone 9 Released - New AI Based Features - Exclusive Demo And Review'. Production Expert. Retrieved October 4, 2019.
14. ^'iZotope RX6'. Sound on Sound. Retrieved October 4, 2019.
15. ^'Izotope Stutter Edit'. Sound on Sound. Retrieved October 4, 2019.
16. ^MusicTech.net (February 6, 2013). 'Trash 2 Review'. MusicTech. Retrieved October 4, 2019.
17. ^'iZotope Releases Free Vinyl Plug-In'. iZotope, Inc. Archived from the original on February 24, 2013. Retrieved July 11, 2012.
18. ^McConnon, Brian. 'IZOTOPE ACQUIRES IDRUM AND PHATMATIK PRO'. iZotope, Inc. Archived from the original on February 24, 2013. Retrieved July 11, 2012.
19. ^'iDrum'. iZotope, Inc.
20. ^'Music and Speech Cleaner'.
21. ^'Sonifi iPhone App lets your fingers remix music'. Los Angeles Times. November 17, 2009.
22. ^McConnon, Brian. 'T-Pain and iZotope Introduce The T-Pain Effect'. Music Marcom. Archived from the original on June 1, 2012. Retrieved July 11, 2012.
23. ^McConnon, Brian. 'iZotope Releases Ozone Maximizer Rack Extension for Reason'. Music Marcom. Archived from the original on February 24, 2013. Retrieved July 11, 2012.
24. ^McConnon, Brian. 'iZotope Introduces Mastering Essentials'. Music Marcom. Archived from the original on May 7, 2012. Retrieved July 11, 2012.
25. ^McConnon, Brian. 'iZotope Releases iZotope Radius for Logic'. Music Marcom. Archived from the original on February 24, 2013. Retrieved July 11, 2012.
26. ^McConnon, Brian. 'iZotope Acquires iDrum and pHATmatik PRO'. Music Marcom. Archived from the original on February 24, 2013. Retrieved July 11, 2012.
27. ^'Introducing iZotope Spectron'. iZotope, Inc. Archived from the original on February 24, 2013. Retrieved July 11, 2012.
28. ^'Spectron'. iZotope, Inc.
29. ^McConnon, Brian. 'iZotope Technology Licensed for Inclusion in Rock Band 3'. iZotope, Inc. Retrieved July 11, 2012.
30. ^'tiki FAQ'. Blue Microphones.
31. ^'Powered By iZotope'. iZotope, Inc. Retrieved June 6, 2012.
32. ^'Mac/Win'. iZotope. Retrieved June 6, 2012.
33. ^'About iZotope Audio Software, Plug-ins, VST'. Izotope.com. Retrieved December 16, 2017.
34. ^'Audio for iOS'. iZotope. Retrieved June 6, 2012.
35. ^'Embedded Audio Repair Tools'. iZotope. Retrieved June 6, 2012.
36. ^'AES12: iZotope Technology Embedded Into Microphones'. Sonicstate.com. October 30, 2012. Retrieved December 16, 2017.
37. ^'Year Zero'. NinWiki. Retrieved December 16, 2017.
38. ^'Red Bull Music Academy'. Red Bull Music Academy. Retrieved December 16, 2017.
39. ^'Archived copy'. Archived from the original on May 31, 2012. Retrieved June 6, 2012.CS1 maint: archived copy as title (link)
40. ^'Archived copy'. Archived from the original on June 10, 2012. Retrieved June 6, 2012.CS1 maint: archived copy as title (link)
41. ^'Winners Announced for the 65th Primetime Emmy Engineering Awards'. Retrieved February 24, 2014.

Further reading[edit]

• Frakes, Dan (October 7, 2008). 'Editors' Notes – An array of audio offerings at AES – iZotope iDrum Hip-Hop Edition and iDrum Club Edition:'. MacWorld. Retrieved October 28, 2008.
• Rogerson, Ben (October 6, 2008). 'iZotope Ozone 4 promises better mastering A pro sound from within your DAW?'. MusicRadar.com. Retrieved October 28, 2008.
• Alexander, Jason Scott (June 1, 2008). 'Field Test: iZotope RX Advanced Restoration SoftwareEASY-TO-USE MODULES OFFER TRANSPARENT, MUSICAL RESULTS'. Mix. Archived from the original on January 7, 2009. Retrieved October 28, 2008.
• 'IZotope Ozone 4 en janvier...'PC Music (in French). October 7, 2008. Retrieved October 28, 2008.
• 'iZotope Ozone 4 en enero de 2009'. Hispasonic (in Spanish). Retrieved October 28, 2008.
• 'RX Review in Mix Magazine - June Issue'. MixMagazine. Archived from the original on January 7, 2009. Retrieved October 28, 2008.
• 'ANR-B Review in Sound on Sound Magazine - April'. SoundOnSoundMagazine. Archived from the original on September 30, 2015. Retrieved October 28, 2008.
• 'RX featured in Electronic Musician 'Noises Off' - August'. ElectronicMusician. Archived from the original on October 20, 2008. Retrieved October 28, 2008.
• 'Ozone 3 review in Mix Magazine- Mar.2004'. MixMagazine. Retrieved October 28, 2008.

External links[edit]

Izotope's comprehensive suite of mastering tools continues to develop and mature, yet still offers excellent value for money.

Ozone 4's smart new look: note the module and global Amount sliders and the new Intelligent II mode for the Loudness Maximizer.

Izotope's flagship, all‑in‑one mastering suite was first reviewed by SOS back in the April 2002 issue, and version 4 was launched at the recent NAMM show with a list of new features and improvements.

At its heart, Ozone 4 is still based around the six modules found in the original release: Paragraphic Equaliser, Mastering Reverb, Multi‑band Dynamics, Multi‑band Harmonic Exciter, Multi‑band Stereo Imaging and Loudness Maximiser. The general operation of the plug‑in and its core modules has remained very similar through Ozone's development. Readers might, therefore, refer back to the original 2002 review (/sos/apr02/articles/izotopeozone.asp) for the basics, and I'll focus here on some of the key improvements in this release.

New Layers

Ozone 4 benefits from a cosmetic overhaul — the look is now futuristic and generally very pleasing to the eye — but most of the key controls remain in familiar places, which is a good thing if you are upgrading. Looks aside, amongst a whole raft of changes and improvements are a redesign of the preset system; module‑level and global Amount controls; Mid/Side processing options for each of the three multi‑band modules and the reverb; a new mode for the Loudness Maximiser, with superior handling of transients; optional automatic gain adjustment when the Bypass control is applied; and 'K‑System' metering, which is based on ideas developed by Bob Katz.

Preset Promise

The Preset Manager can now be undocked and incorporates a degree of editing, courtesy of the excellent new Macro Faders.

The Preset Manager window can now be undocked from the main window, which is very useful if you are flicking through the presets and want to see what settings are applied to a particular module. Presets can now also be organised into folders, and the 100‑plus presets supplied are helpfully organised into folders such as 'Genre‑Specific Mastering' or 'Instruments and Busses'. This makes it much easier to find a suitable starting point or to organise your own presets.

Izotope have also built a degree of sound editing into the preset system via the new Macro Faders. When a preset is selected in the Preset Manager window, a number of faders are displayed that give access to the key controls for overall tweaking of that preset. For example, a Loundess Macro Fader might control the Threshold for the Loudness Maximiser while a Depth Macro Fader might alter the Band Widening controls in the Multi‑band Stereo Imaging module. Users can also create their own Macro Faders if they wish. This whole concept is really well implemented, and allows an easy route into simple editing.

The preset Macro Faders are not the only convenient new controls. The main window now includes both module and global Amount controls. These can almost be thought of as 'mix' controls that allow you to adjust the blend of processed and unprocessed sound, either just for a specific module (for example, allowing you to easily adjust the degree of processing that is applied by the Loudness Maximizer) or globally, through the slider just beneath the main I/O level meters. As with the Macro Faders, there is an element of convenience here, but these controls are also just plain useful to have.

A Slight Aside

The Mid/side processing — shown here for the Paragraphic EQ — offers some interesting possibilities.

From a processing perspective, one of the more interesting introductions in this release is Mid/Side processing in the three multi‑band modules and the Mastering Reverb, which makes it possible to process the centre of your stereo image (the 'mid' element) and the material panned towards the left/right sides (the 'side' element) separately. Usefully, metering for the mid and side settings is displayed in different colours (orange and dark blue respectively).

This opens up some very interesting creative and corrective possibilities. The most obvious example would be when a lead vocal needs rescuing at the mastering stage (it shouldn't happen, but it does). The ability to apply separate EQ or dynamics processing to the centre of the stereo image allows the perceived level and character of the vocal to be adjusted while leaving the 'side' elements unaffected. This is sophisticated stuff and, while daunting for the novice, it will be welcomed by power users.

Taking It To The Max

Whatever your personal take on the loudness wars, Ozone's Loudness Maximiser can certainly deliver extra decibels, should you want them. Yes, pushed to the extreme, it can squash the life out of a mix and create a horrible, pumping, crushed end result. However, there is a lot of scope before that point is reached to add extra level without the processing becoming obvious.

A new processing algorithm — Intelligent II — is included in this release. This is optimised to preserve transients, meaning that they stay clearer even when more aggressive maximisation is being applied. This seemed to work very effectively when dealing with rock‑based material and, if desired, allows an extra dB or two of volume to be squeezed out before things get messy.

Also very welcome is the option to automatically match the overall gain when engaging Ozone's bypass option. Loudness maximisation aside, this can make it rather easier to judge the tonal and dynamic changes being produced by the processing, without the unprocessed signal sounding 'different' simply because it is considerably quieter.

In Action

New I/O options include K‑System metering and automatic gain matching in bypass mode.

In testing with Cubase, Wavelab, Sound Forge and Acid Pro, Ozone 4 seemed very reliable and certainly didn't seem to place an unacceptable load on the CPU. Sonically, any improvements in the sound of version 4 compared to v3 are quite subtle, if you're mastering rock & roll in a typical project studio space without high‑class monitoring or amazing acoustics but, that said, I thought the presets supplied with Ozone 4 were a definite step up from earlier releases. In particular, the genre‑based mastering presets provide an excellent starting point based on the style of music you are working with.

While Ozone is primarily a mastering tool, it can also be used on individual tracks while mixing. Again, there are some excellent presets, and I found the various drum treatments to be particularly impressive. Placed across a stereo drum mix, the degree to which a fairly tame drum track can be turned into a raging rock monster is really impressive and would certainly be worth the CPU hit.

Ozone 4 brings all sorts of efficiencies in terms of workflow and makes things easier for the novice user via the excellent presets and features such as the Macro Faders. However, there is still an awful lot to learn. New DIY mastering engineers should take note, and make sure they do a lot of A/B comparisons to ensure that the processing is not being overcooked. And I'll repeat advice I gave when originally reviewing Ozone back in 2002: download and read the 'Guide To Mastering' PDF that is available from the Izotope web site, because it's excellent.

Master Of The Universe?

It is difficult to imagine what more iZotope might add to Ozone in terms of the degree of control it gives you over your audio, and I suspect that the potential of this plug‑in is more likely to be limited by the user's experience and monitoring environment than any shortfall in the features or quality of the processing within Ozone itself. There is more than enough to tempt existing Ozone users to upgrade and, at this price, those looking for a serious DIY mastering solution really should give the Ozone demo a spin. Just be prepared to put some work in so that you can get the best out of it. As a convenient, one‑stop, mastering solution, Ozone 4 is very hard to beat.

Alternatives

If you want to look at alternatives to Ozone, Mike Senior's T‑Racks 3 review in the April 2009 SOS is a good place to start. Other options include products from BIAS, Crysonic, Nugen, RN Digital and Sonalksis, though most bundles offering comparable functionality are more expensive than Ozone 4.

K‑System Metering

There are lots of very well-respected audio engineers who believe that the trend for 'hotter' mixes has had a negative impact upon audio quality and musicality. Bob Katz has proposed a metering and monitoring standard to counter this trend and intended to encourage some consistency between absolute levels when mixing and mastering for different musical contexts. Ozone now provides metering that is consistent with this 'K‑System' in its three different variants, K20, K14 and K12, which are intended for audiophile/classical music, pop/rock/folk and broadcast applications respectively. The numbers refer to the relative position on the meters of 0dB compared to full scale (that is, it avoids 0dB appearing at the top), encouraging the user to leave appropriate headroom. The meters also feature indicators for average and peak levels.

Pros

• Very comprehensive feature set.
• New Macro Faders and Amount controls make Ozone easier for the novice user.
• Very competitively priced, considering what is on offer.

Cons

• A lot to learn!
• Like all mastering software, a dangerous tool if not used with care.

Summary

Reliable, convenient, cost‑effective and very powerful, Ozone 4 lives up to its billing as a complete set of mastering tools within a single plug‑in.

information

M‑Audio UK +44 (0)1923 204010.

M‑Audio US +1 626 633 9050.

Izotope O-zone 4

Test Spec

Izotope O-zone 4 free full. download

• Izotope Ozone 4.03.
• PC with 3GHz Intel quad‑core Q9650 processor and 4GB RAM, running Windows Vista 32‑bit, and TC Electronic Konnekt 24D interface.
• Tested with Steinberg Cubase 4.5.2, Steinberg Wavelab 6, Sony Sound Forge 9 and Sony Acid Pro 7.